Batman #151: The Bizarre(o)land

Batman #151 – written by Chip Zdarsky with pencils from Mike Hawthorne, inks by Adriano Di Benedetto, colors from Romulo Fajardo Jr., and letters by Clayton Cowles – is a direct tie-in to the currently running Absolute Power event. Picking up from the prologue issue, Batman learns that Amanda Waller is using Motherbox technology to depower and conquer the superhero community. Needing a hand in stealthing across the island nation of Gamorra, Bruce reaches out to Catwoman, who he recently made peace within the wake of Zur-En-Arrh and Failsafe.   

The two manage to successfully infiltrate the island, searching for the Fourth World technology while deflecting the attacks of Waller’s Suicide Squad. After outmaneuvering Bizarro, Black Alice, Deadeye, and more, the vigilante duo find their way to the heart of the island. Instead of locating the box, Bruce uncovers a functioning Boom Tube in the hideout, which Waller is using to hide the box and another base. Located on the recently wiped-out planet of Czarnia (the homeworld of Lobo), Waller has set-up a shop using her family’s mausoleum. That local becomes a possible tomb for Batman and Catwoman, as the Suicide Squad pins them down on the otherworld. 

Zdarsky plots the issue with a concise continuation of the event, weaving in specific Batman elements with the wider DC Universe. It’s the best synthesis of a tie-in and ongoing story, using the event as a catalyst for the plot while deepening the character work established throughout the run. The tie-in is built around the reconciliation of Bruce and Selina, making it a two-pronged story. Learning from his time on Daredevil and the intersection with King in Black, Zdarsky expertly makes the best of what could be a momentum killer. 

Not only does the relationship between the two recalibrate with their mission, but it also allows Zdarsky to play with additional toys from the wider DC toy chest. The inclusion of Bizarro is an excellent choice, allowing a bit of levity to inject itself into a self-serious story that contrasts the absurdity of Batman in the context of the wider universe. He can wear a power suit and battle this band of powered individuals while also engaging in the espionage and genre trappings of a heist story. It’s an interesting blending of the two distinct flavors while using Bizarro as the spice and base of the story. 

The inclusion of Bizarro is a perfect fit for Hawthorne’s art as well, the design enriched by the specific style employed. Much of the artwork in the issue is stiff, lacking a vibrant sense of urgency or kinetic movement. While that does make the dialogue scenes and nimble beats with Selina seem lacking, it balances well with Bizarro’s distorted anatomy. He towers while twisted in form, exemplifying the core conceit of the character as a doppelganger. It’s a shame that the artwork doesn’t work outside of the character, feeling hindered by the best parts of the script. The facial expressions and framing of the two leads are flatter than a broken-down box, which lacks any sense of depth or spark. 

A sense of flattening extends into Fajardo’s coloring, which operates on a similar level to the artwork. There are a few interesting flourishes or choices like the purple on Batman’s gloves or the grayish tones of Bizarro. However, those fall short and instead give the book a sense of house coloring that stands apart from the typical palettes used in the series. Even as the book trades the grim and dirt of Gotham for a pristine jungle in the daytime, the tones of the book don’t feel too out of the same wheelhouse. Even when a Boom Tube and high-flying tech are deployed, little is done to set it apart from the typical coloring of computer screens and the daytime sky.